Ashton Moss

1 - 4 At the top of the track opposite Albert Hulme's there's this telegraph pole, with the "WRIGLEY AND BENNETT" sign on it. There's nothing special about the sign, it's a fairly crude handwritten one (white reds on a red background), but in a way it is an artefact which is typical of the quirky character of the Moss.

I presume WRIGLEY AND BENNETT are Market Gardeners, but there is nothing on the sign to tell us this. Nor does it's relatively isolated position (which I tried to emphasise in these photographs) help, it doesn't seem to relate to any particular estate. Strange.

6 - 13 This is the long shed on Albert Hulme's estate. I tried photographing it on film c7/1/12 but without much success. These shots are more successful. Obviously the lighting greatly helped, but the shape and form of the shed is also important. It's so solid and strong. I didn't have to think too much about the composition of these photographs - they seemed to compose themselves.

As you can see from the 6 virtually identical photographs of the shed I got carried away.

14 - 18 These are side views of the shed featured in film c7/1/11. It's really three sheds in one:

Came

I remember Albert telling me this is where most of his break-ins occur. I must admit it doesn't look too secure or, for that matter, safe.

The derelict cold frames are in the foreground of these photographs.

Rolleiflex 3.5F

Agfapan 100 (80 ASA) Rodinal 1:60. 10 mins at 68°F.

<span class="wrapper"><p>Work Print</p> <p>Negative c7/1/15/11</p> <p>Work Print c7/3/15/11</p> <p>CH : 510 mm</p> <p>Exposure : F22 @ 7s</p> <p>Paper : Gr 1 (Br)</p> <p>Comments : I initially printed this on Ilford Galerie paper (Grade 2), and then on Agfa Brovira paper (Grade 1) - not as contrasty. It's a simple photograph, I didn't really have to think about the composition, I just took the shed end on, but it's effective. I like the light on the door and the surrounding tarpaulin, it picks out the detail beautifully. The new plastic guttering is a nice touch as well.</p> <p>Straight print.</p> <p>I returned to the long shed and waited for the sun to move round a little so it was striking the Capstan and Navy Cut signs. Whilst I waited I sketched out the plan below of Albert Hulme's estate. It's not to scale. The figures refer to the numbers on the sheds referred to in my notes of 25 February 1989.</p></span>